INFERIS (2024) – a short psychological horror film!
Just a quick update to say I am really pleased the low budget film I wrote and produced did really well at various festivals throughout 2024. I’m still waiting for responses from a few more festivals, but here are some of the events it was screened at:
Inferis (2024) is an eerie, unsettling and psychological no budget short horror film. A mood piece relying on atmosphere, creative lighting and impactful sound design.
Recent prison leaver, Joseph Mann, begins a new job at Inferis Security. Hoping for a fresh start he finds himself drawn toward a mysterious door that leads to god knows where.
Based on the musical, Wicked by Stephen Schwartz & Winnie Holzman and novel by Gregory Maguire.
Produced by Marc Platt and David Stone
Main Cast: Cynthia Erivo, Ariana Grande-Buter, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh and Jeff Goldblum etc.
Cinematography by Alice Brooks
Edited by Myron Kerstein
Music by John Powell (score) and Stephen Schwartz (score and songs)
*** MAY CONTAIN SPOILERS ***
I truly believe my love of cinema began when I was aged five. Or was it six? Picture the scene. Christmas Day circa 1976 and the living room of a Battersea tower block. A television emits a classic musical fantasy called The Wizard of Oz (1939). Shades of grey with a flickering light and shadow, drew me into its spell. I sat wide-eyed, cradled by the screen’s soft glow, unaware that something wondrous lay just beyond the monochrome.
And then it happened—like a magician’s flourish, the black and white world I had known melted away. Dorothy opened that door, and the screen burst into life, a kaleidoscope of impossible hues. Emerald greens, ruby reds, a yellow road that glowed with the promise of adventure. My eyes widened. Hang on! It was black and white and NOW the images are in colour! This was magic. This was film. This was Oz!
Forty-eight years later and back to the present. In 2024, I am sat in the cinema intrigued to watch the musical prequel, Wicked (2024). Based on a successful novel, then a spectacularly successful stage musical and now a big-budget Christmas cinema extravaganza indulgently split into a two-parter, does Wicked (2024) capture the cinematic sorcery I experienced in my youth? Of course it possibly cannot live up to my warm and fuzzy childhood memories, but it is a well-crafted, superbly choreographed and energetically performed Hollywood product with Cynthia Erivo and Ariana Grande on majestic form.
The film, based on Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire, is a brilliant twist on the “what if” storytelling lens—a speculative reimagining that turns a villain into a deeply human, complex protagonist. The novel takes the flat archetype of the Wicked Witch and asks: What if we misunderstood her? What if the “wickedness” she’s condemned for is not inherent, but the result of a life shaped by prejudice, politics, and pain? Indeed, the journey of Elphaba Thropp (Cynthia Erivo) powerfully drives the story, and in some fashion Wicked(2024) works brilliantly as a Breaking Bad-meets-Mean Girls-type-rites-of-passage musical.
Unfortunately, such strong narrative bones with weighty themes of identity, morality, and the price of power are adorned in a dazzling, over-the-top spectacle. While its core narrative explores profound questions about destiny and the nature of “wickedness,” these ideas often get buried under an excessive parade of well-designed production numbers that stretch the running time and tested one’s patience. The powerful emotional arcs of Elphaba and Glinda, rich with potential, are interrupted by TOO MANY songs that (Dancing Through Life is one such culprit), while entertaining in isolation, often feel like detours from the story’s heart.
By the final curtain, the spectacular musical embellishments, though undeniably crowd-pleasing, can leave the story feeling bloated. I am probably the wrong demographic for the production, given the cinema was full of children and parents. So, while there is much to enjoy in comparison with the original film’s genius, notably the invention of the flying monkeys, Wicked(2024), for all its glitter and showmanship, finds the greedy desire for a two-parter ultimately draining Oz of pace and magic.
Produced by Jacques Audiard, Pascal Caucheteux, Valérie Schermann, Anthony Vaccarello
Main Cast: Zoe Saldaña, Karla Sofía Gascón, Selena Gomez, Adriana Paz, Mark Ivanir, Édgar Ramírez etc.
Cinematography by Paul Guilhaume
*** MAY CONTAIN SPOILERS ***
“There’s such a thing as having too much going on.” Howard Moon from The Mighty Boosh.
I am a big champion of the films of Jacques Audiard. When his eccentric Western, The Sisters Brothers (2018), was released I wrote a positive review and tribute to several other fine films he has directed here. Audiard likes to take risks representing human beings on the edge of society and perhaps struggling with life; people who often make left-field decisions to improve or escape their existential plight. With his latest film Emilia Perez (2024) the filmmaking master challenges the audience again with a multi-blended genre film that also contains powerful themes of transformation, redemption, violence, crime and family values. Oh and there are songs too.
The narrative begins strongly as Rita Mora Castro (Zoe Saldana), a fiercely talented yet overlooked lawyer in Mexico City, finds herself thrust into the spotlight when she defends the wife of a prominent media mogul in a controversial murder trial. Despite her misgivings, Rita crafts a chillingly persuasive argument that frames the death as a suicide, securing an unexpected victory in the case—one that leaves her both celebrated and haunted.
As the dust settles, Rita’s restless dissatisfaction with her life grows louder. Then comes an anonymous phone call: an enigmatic voice offers her a chance at something extraordinary—and extraordinarily dangerous. Intrigued and desperate for change, she agrees to a clandestine meeting. The mysterious client turns out to be none other than Juan “Manitas” Del Monte (Karla Sofía Gascón), a ruthless and feared cartel kingpin. But the request they make isn’t what Rita expects from a crime-lord. Manitas dreams of living authentically by undergoing gender-affirming surgery and becoming a woman. Rita must decide: will she help Manitas rewrite their story, or will she risk becoming the next chapter in a tale of betrayal and bloodshed?
This fascinating set-up draws you in and I believe if Audiard’s narrative had concentrated mostly on the relationship between Rita, the transitioned, Emilia, then the film would have retained much emotional and thematic power. Yet, after Emilia’s operation the screenplay introduces several other story strands and characters to take in, including Selena Gomez’ feisty Jessi Del Monte, Manitas’ ex-wife who thinks “he’s” dead. This development works initially but then Audiard hurls so many more ideas and genres at the audience wall, not all of them sticking.
Admittedly, the film’s audacious blend of melodrama, crime, thriller, musical, and comedy creates an unpredictable and frenetic narrative that keeps viewers on their toes. However, this constant genre-shifting can undermine the weight of its core themes—gender and identity—by overshadowing them with spectacle and tonal inconsistency. The story’s rapid turns and refusal to settle into a single emotional or narrative groove risk, arguably trivializing the profound struggles and triumphs of its trans-protagonist. Moments that could serve as deeply reflective or cathartic explorations of gender identity are sometimes undercut by abrupt pivots into slapstick humor or hyper-stylized action. While these shifts might aim to reflect the disarray and fluidity of identity in a chaotic world, they can also dilute the thematic resonance.
At the same time, it’s clear Audiard is deliberately embracing this chaos and analysis of human flaws. The fractured tone might symbolize a world where stability and clarity are illusions, mirroring the internal and external conflicts of someone navigating personal transformation in an unyielding environment. This approach, while conceptually intriguing, can feel alienating. Nonetheless, the cast’s stellar performances anchor the film, ensuring that the characters remain compelling even when the story spirals into excess. Lastly, Emilia Perez‘ (2024) relentless energy often leaves little room for introspection, and whether this genre-chaos enriches or undermines the narrative depends largely on the viewer’s tolerance for Audiard’s embrace of choral disorder in a world seemingly allergic to calm and pattern.
The Scala Cinema, nestled in the heart of London, was more than just a film theatre; it was a refuge, a haven for anyone with a passion for films that didn’t fit into the mainstream mold. I can still feel the sticky floors, the cats in the dark, hear the muffled sounds of the trains passing overhead, and see the hazy red glow that filled the theater. In the 1980s and 1990s, going to the Scala wasn’t just about watching a film; it was about being part of a community that celebrated the bizarre, the boundary-pushing, and the boldly artistic.
During those years, the Scala felt like my second home. It was where I could disappear into films that I couldn’t find anywhere else – obscure horror flicks, campy B-movies, gonzo-pornos, arthouse selections, and controversial classics from around the globe. It was my church. Films by David Lynch, John Waters, Yuen Woo-ping, Derek Jarman, Werner Herzog, Sam Raimi, Lucio Fulci, Russ Meyer, Kathryn Bigelow, Alex Cox, John Woo, Stanley Kubrick, Jane Campion, Orson Welles, Dario Argento, Alejandro Jodorowsky and many more – each screening felt like a small rebellion, a discovery that I’d carry with me. The Scala didn’t just show movies; it curated experiences. All-night marathons, double bills, and surprise screenings became a staple of my weekends, filling my mind with scenes that blurred the line between reality and the outrageous.
When I watched the Scala documentary on BFI Player, a flood of memories came rushing back. It was as though I’d been given a ticket back to those wild, late nights. I remembered how Scala regulars would shout lines at the screen or break into laughter at inopportune moments, making each viewing unique and unpredictable. The documentary captured not only the films but the spirit of the place – the staff who loved cinema as much as the patrons did, the strange but welcoming crowd, and the sense that Scala wasn’t just a venue but a movement. Watching it felt like reconnecting with a part of myself, an era when cinema was raw, thrilling, and unpolished.
The Scala in King’s Cross is a legend, and for those of us who were lucky enough to experience it, it’s a chapter we’ll always cherish. I was even there when they showed A Clockwork Orange (illegally), which led to the ill-fated court case which forced it to close. This documentary is both a valuable historical document and a joyous sharing of stories from those who worked there and attended the films shown, including: Mark Moore, Mary Harron, Isaac Julien, John Waters, Ben Wheatley; Barry Adamson, Matt Johnson, Adam Buxton, James O’Brien, Stewart Lee, Lisa Power and Graham Humphreys. Overall, the Scala Cinema wasn’t just about the films we watched; it was about finding a place where film became more than entertainment – they were a way of life.
Looking for something horrifying to watch during Halloween. Well you could do far worse than getting a Shudder subscription.
A few months a year I sign up and binge bloody disgusting and scary films as my previous reviews testify. Check them out here!
This year I have done the same and watched some really good, terribly bad and hideously ugly horror films via Shudder. Peruse my short reviews below. In alphabetical order with marks out of eleven.
Host (2020)
A terrific low-budget British indie film that explores the dangers of angering ghosts during a Zoom call. While the mildly irritating characters don’t realize they can simply end the online séance, it’s still a spooky, suspenseful, and fast-paced horror flick. I’m not usually a fan of the found footage genre, but this was very well made and highly creepy. Mark: 8 out of 11
In A Violent Nature (2024)
This director will probably have an amazing career. But this film was, despite some wonderful practical-effect driven gore, SO slow and boring. The film satirizes classic horror tropes, mocking their clichés with a heavy hand. The director’s pretentious style and inflated sense of artistic ego drain the audience of any real suspense or tension. The attempt at highbrow genre obfuscation creates a hollow spectacle. Shot from behind, the killer stalks twenty-somethings in the woods in the style of Son of Saul (2015) meets every slasher film ever. Ultimately, suffering from atrocious dialogue, bad plotting and weak characterization, the visual flair fails to save a film which feels more like an exercise in intellectual vanity than a gripping thriller. Mark: 5 out of 11
With echoes of the recent Inside No. 9 (3×3 quiz show episode) and BBC show Ghostwatch (1992), and of course The Exorcist (1973), Late Night With the Devil (2023) is one of the most enjoyable and imaginative horror films I have seen in sometime. One of the best horror films of the decade. Check out my longer review here. Mark: 9 out of 11
Pyewacket (2017)
Nicole Munoz’ isolated teenager summons a witch via a ritual and unleashes something not particularly scary or even present. All set-up and no catharsis! A waste of everyone’s time. Mark: 4 out of 11
Revealer (2022)
One of the best pitches I have read in a while – “A stripper and religious protester are trapped together in a peep show booth and must come together to survive the apocalypse in 1980’s Chicago!” does not unfortunately live up to expectations. However, there’s a decent female buddy dynamic and some imaginative gore which channels early Raimi, Jackson and Carpenter. Mark: 6 out of 11
Room 237 (2012)
For Stanley Kubrick completists, this fascinating documentary is divided into nine sections, with each one exploring a different aspect of The Shining (1980). Hidden theories buried under the surface relate to faked moon landings, Native American genocide and the holocaust are some of the ideas chucked at the wall. While some may stick and some don’t, it’s lovingly made and always fascinating. Mark: 8 out of 11
Skinamarink (2022)
Skinamarink was a major letdown for me, especially given the high expectations after its impressive financial success. With a $15,000 budget, it garnered over $2.1 million at the box office, creating a buzz around its unconventional style and promise of fresh horror. But despite its atmospheric tension and experimental approach, I felt the film didn’t live up to the hype. The slow pacing, abstract narrative, and reliance on ambient sounds and shadows left me unmoved. It’s an original, art-house horror so surprised it crossed over. Filmmaker, Kyle Edward Ball, clearly has a distinctive voice though. Mark: 6 out of 11
Stop Motion (2023)
The animation in Stopmotion (2023) showcases Robert Morgan’s genius, with his signature blend of hauntingly detailed stop-motion work that creates an eerie, tactile atmosphere. His craftsmanship brings a nightmarish quality to life, adding unsettling textures and depth that pull the audience into a world of psychological horror. However, while the animation excels, the plot—reminiscent of Repulsion—struggles to connect on a human level. The surreal visuals overshadow the character’s psychological journey, making it hard for viewers to engage with the protagonist’s inner turmoil, leaving the story feeling more distant and abstract than compelling. Mark: 6.5 out of 11
Superdeep (2020)
The Russian horror film Superdeep feels like a patchwork of borrowed elements from better-known sci-fi and horror movies, but without their finesse or originality. It mimics the claustrophobic tension of The Thing, the body horror of Alien, and the descent into madness of Event Horizon, yet fails to capture the essence that made those films effective. Derivative and ineffective, it at least has some ridiculously bad monster effects at the end that had me laughing. Mark: 4 out of 11
The Coffee Table (2022)
The Coffee Table is a twisted and darkly humorous horror film that pushes the boundaries of discomfort while delivering a sharp, satirical take on the horrors of parenthood. The film’s sick sense of humor blends with its unsettling premise, as it uses a seemingly mundane object—a coffee table—as the catalyst for an absurd but terrifying chain of events. Its pitch-black comedy amplifies the tension, making the film both deeply disturbing and strangely cathartic for those who understand the pressures of raising children. It’s a fearless examination of the darker side of family life, where humor and horror collide to expose the anxieties and struggles that often go unspoken. Mark: 8 out of 11
We All Went to the World’s Fair (2021)
We All Went to the World’s Fair (2021) falls short both as a horror film and as a rites of passage story. Its eerie, slow-burn approach creates an unsettling atmosphere, but the lack of a clear, escalating threat leaves it feeling aimless. Switching protagonists at the end does not work, and despite an excellent performance from Anna Cobb, the film spoils an intriguing premise. Mark: 5.5 out of 11
Where Evil Lurks (2023)
Where Evil Lurks(2023) skillfully employs well-known horror tropes—such as viral infection and monstrous transformations of humans—to deliver a fresh and intense experience. The film taps into the fear of contagion, using the idea of a mysterious, spreading evil that corrupts and distorts its victims. This viral-like menace is combined with disturbing body horror, as infected humans gradually turn into something grotesque and monstrous, making the familiar threat feel visceral and terrifying. The gradual, creeping transformation of people into monstrous figures is done with chilling precision, playing on the fear of losing control of one’s body and mind. By grounding these tropes in a strong narrative and unsettling atmosphere, the film elevates the horror elements, using them to amplify its emotional and psychological impact. Mark: 8.5 out of 11
As regular readers of my blog will know I am a massive fan of horror films. So much so I will often theme my monthly viewing around the genre, then consolidate the reviews in one post. Here are two of the most recent posts:
For the month of June and bleeding into July, I solely focused on horror films streaming on Netflix. So, here are short reviews of the many films I watched that are currently available on Netflix!
*** CONTAINS PLOT SPOILERS ***
A CLASSIC HORROR STORY (2021)
Italian shocker that echoes Midsommar (2019), Scream 3 (2000) and The Ritual (2017). The script is meta-clever and there’s some decent gore, but overall it lacks emotional empathy for the characters. More of a knowing film satire rather than being proper scary. Mark: 6.5 out of 11
BAGHEAD (2023)
Suffers in comparison to the far more energetic and thrillingTalk to Me (2022)– which is also on Netflix. Aside from the opening with the always brilliant Peter Mullan, who sets the scene, monster and horror rules, the film contains slight characterization and low stakes when the lead protagonists enter the shadowed fray. Mark: 5.5 out of 11
BLOODY NEW YEAR (1987)
Genuinely one of the worst horror films EVER made, that somehow still has some memorably crazy moments and monsters. Watch and cry with laughter about how bad this Brit-shocker is though! Mark: 2 out of 11
CAM (2018)
Madeline Brewer is fantastic as the narcissistic Cam-Girl who finds her identity is cloned, with the added stress of a killer being on her trail. Cleverly and wittily plotted, this brilliantly directed satire rises above its exploitative material to deliver a thematically rich horror film full of suspense and shocks. Mark: 8.5 out of 11
CREEP 2 (2017)
Mark Duplass gives another strikingly weird performance as the serial killer who loves the slow-burn taunting of his victims. Both this and Creep (2015) actually make the found footage filming trope work really well. Mark: 7.5 out of 11
EMELIE (2016)
What if your babysitter isn’t the person you think they are? An incredibly chilling character study designed to give every parent sleepless nights. With a committed performance from Sarah Bolger, this has so many twisted scenes involving the kids that disturbed me and feared for their safety. A horror film that really burrows under your skin throughout. Mark: 7.5 out of 11.
FANTASY ISLAND (2020)
Taking a 1970’s high-concept drama series and turning it into a horror film is not the worst idea, especially as the original series had its darker episodes often involving cautionary tales of morality. However, the script they delivered for this misfire feels as though many, many writers have tried desperately to resuscitate it from within the cold morgue draw. There’s some drive and energy from the cast and I actually enjoyed some of the set-pieces, but it feels ultimately like over-stuffed mush. Mark: 5 out of 11.
HAUNT (2019)
An incredibly generic set-up finds a group of teenagers drawn to a haunted house at Halloween, only for crazed killers to lock them in a slash them down. Benefits from some imaginative villains and kills, plus an empathetic lead characterization by Katie Stevens as the grieving Harper. Lastly, directors Scott Beck and Bryan Woods show excellent control over tone, style and suspense. Mark: 7.5 out of 11.
RED STATE (2011)
Kevin Smith goes ‘Grindhouse’ with this gnarly horror film where a group of horny teenagers are lured into a deadly trap that threatens their existence. Starts strongly exploring themes of religious mania and family values culminating in an incredible monologue delivered by Michael Park’s charismatic church leader. Latterly descends into a chaotic siege thriller shoot-em-up with crazy cultists versus the American authorities led by the always excellent, John Goodman. Smith’s trademark chitty-chatter dialogue is good, but kind of gets in the way (monologue aside) of the drama and humanity-as-horror of the piece. Mark: 7 out of 11.
THERE’S SOMEONE IN YOUR HOUSE (2021)
Extremely well written, directed and acted film which gets stuck between the rites-of-passage and slasher tropes, serving neither of these genres satisfactorily. There’s some alright kills, but overall feels like an inferior photocopy of Scream (2000) with little of the wit or meta-brilliance. Mark: 6 out of 11.
TIN & TINA (2023)
Featuring motifs relating to religion, fascism and family values, this interesting chiller ticks all the themes present in many Spanish horror films. As Lola (Milena Smit) and Adolfo (Jaime Lorente) suffer the tragedy of a lost child, they try to redeem their grief with the adoption of two blonde, shock-haired orphans raised by nuns. Driven by their naivete and religious fervour, Tin and Tina end up committing many questionable acts which threaten to send Lola over the edge. Beautifully filmed and scored, the director also builds an impressive sense of dread throughout, yet the film is ultimately denied a higher mark by the glacial pace and disappointing ending. Nonetheless, it is thought provoking with both the creepy kids and Christianity contributing to nail-biting scenes of high anxiety. Mark: 7 out of 11
Last year I wrote and produced seven monologues inspired by the deadly sins. With careful planning, myself and a quality cast and crew shot them all in one day at Raindance Film School. I’m now releasing them online via YouTube. They are in essence a proof of concept project with an aim for myself to develop them into a feature film screenplay. Below are episodes 4 to 7!
PITCH
“Let those without sin cast the first stone.”
An anthology of 7 monologues based around the seven deadly sins. Moments, drama, humour, character studies and themes exploring the darker side of human nature. Influenced by: Alan Bennett’s Talking Heads, Inside No. 9, Tales of the Unexpected and Amicus/Hammer horror film anthologies.
PRIDE starring Myles Horgan
Bishop, a retired spy with a gun in his face, delivers a powerful monologue as he attempts to deduce the identity of the assassin that faces him.
LUST starring Tom Cavendish
Danny, a police officer racked with guilt, confesses as to why he thinks he cheated on his beloved fiancé with her sister.
ENVY starring Malcolm Jeffries
Len, a covert photographer, reveals how his obsession with a client’s wife brings back haunting memories from his past.
WRATH starring Julia Florimo
Sadie describes in detail how and why she plotted revenge by poisoning her cheating ex-boyfriend, Stephen.
CREDITS
Writer and Producer: Paul Laight Camera and Post-Production: Gary O’Brien Sound: Ali Kivanc Camera Assistant: Maka Natsvlishvili Music by: Epic Violin Music NO Copyright royalty free music Special thanks: Raindance Film School and Universal Video
Sadly, the uber-filmmaker, Roger Corman passed away on May 9th 2024. But given the longevity of his life and career in films it’s really time to celebrate his life in cinema. To me Roger Corman is a hero because he is a true independent filmmaker, working outside of the Hollywood system producing hundreds of films, many of which were extremely successful financially.
Of course, for a man known as the “King of the B-Movies” not all of the films were the height of artistic merit, however, they were NEVER boring. So many of his films have real invention and a crazy energy. What separates Corman from say Ed Wood is he knew how to tell a proper story on a low budget. Indeed, films such as Little Shop of Horrors (1960) and Death Race 2000 (1976) would latterly get the big-budget Hollywood remake treatment. Further, without Corman’s The Wild Angels (1966) starring Peter Fonda, Hopper and Fonda’s counter-cultural phenomenon Easy Rider (1969) may not have existed.
As well as boosting the careers of Peter Fonda and Dennis Hopper, as a producer Corman also gave starts to Francis Ford Coppola, Jonathan Demme, James Cameron, Sandra Bullock, Robert DeNiro, Jack Nicholson, Martin Scorsese, Pam Grier and many more. Corman did not just have a keen eye for talent, he was canny because he knew that such hungry filmmakers and actors could be “exploited” at a lower cost than bigger Hollywood names.
So, as a mini-tribute I have selected six of the best Corman films I have seen. Rest in peace, Mr Corman – you were a true cult and cinema legend!
LITTLE SHOP OF HORRORS (1960)
Incredibly, this film was shot in three days for $28,000 and would become a cult hit after initially struggling to find distribution. Amazingly, Corman did not expect the film to be successful so he didn’t bother to copyright it. It is therefore in the public domain! I myself saw it recently on Talking Pictures and it is a so entertaining. Look out for a hilarious early performance from Jack Nicholson.
THE INTRUDER (1962)
This is perhaps the most seriously raw and challenging film of Corman’s career. William Shatner portrays charismatic racist, Adam Cramer, a travelling salesman, who becomes hellbent on preventing racial desegregation in a Southern town. It was a landmark film for Corman who decided, “It was more of a lecture. From that moment on I thought my films should be entertainment on the surface and I should deliver any theme or idea or concept beneath the surface.”
MASQUE OF THE RED DEATH (1964)
Three masters of horror for the price of one with Edgar Allen Poe, Corman and Vincent Price, combining to chilling effect in this beautifully filmed period ghost story. Arguably the most artfully directed film of Corman’s career, the cinematography was by one Nicolas Roeg, proving once again Corman was an expert at spotting film talent way ahead of time.
BLOODY MAMA (1970)
Cashing in on the success of period gangster film, Bonnie and Clyde (1967), Bloody Mama (1970) is a gloriously over-the-top chase thriller, with Shelley Winters eating the scenery in a brilliant performance. Robert DeNiro appears at Ma Barkers drug addicted son, Lloyd, showing glimpses of the acting talent that would lead to so many incredible performances. But it is Winters’ film as the “loving” and gun-toting mother who leaves a lot to be desired as a positive parental role model.
DEATH RACE 2000 (1975)
The epitome of a high concept cult movie, directed by Paul Bartel, this features the brilliantly sick idea of racing drivers killing members of the public for entertainment. Full of terrific gore and gallows humour, this is one of those Corman produced films where a bigger budget would have served the action so much better. It was still a massive hit though. The imaginative deaths, cutting satire and demented characterisations from the likes of Sylvester Stallone, Martin Kove and deadpan David Carradine are memorably fantastic. I cannot help thinking Death Race 2000 must have been an influence on The Purge franchise too.
BATTLE BEYOND THE STARS (1980)
Corman’s biggest budgeted film at the time of release at $2 million, this film is both a rip-off of Star Wars and homage to The Seven Samurai, or it is the other way round? The massive budget was essentially due to George Peppard’s and Robert Vaughan’s salaries, both of whom would become stars of The A-Team. If you didn’t know many of the inventive practical special effects were supervised and created by a certain James Cameron, who got his big break as the lead production designer and art director on Battle Beyond the Stars.
Cast: Johnny Flynn, Will Poulter, Naomi Ackie and Lydia Wilson
Cinematography by Darran Bragg
Music by Johnny Flynn
*** MAY CONTAIN SPOILERS ***
I’m not sure enough people have seen The Score (2021) to even rate it, let alone under-rate it. Because this crime-thriller-musical is a genuine curio and cult classic in my book. The reviews online are very mixed and many of them are correct in saying the film doesn’t work as either a crime film or musical or even a love story. But for some reason I have watched it twice now and really enjoyed it both times. So, for me, it is very much an under-rated classic.
For the record, for me, an under-rated classic can be a film I love, plus satisfy the following criteria:
Must not have won an Oscar.
Must not have won a BAFTA.
Must not appear in the AFI Top 100 list.
Must not appear in the IMDB Top 250 list.
Must not appear in the BFI 100 Great British films.
Must not appear in the all-time highest grossing movies of list.
So, being a massive fan of Johnny Flynn helps to enjoy this film. He wrote and sings, with Will Poulter and Naomi Ackie, the songs from the soundtrack. Plus, he is one of the main leads, portraying a low-level career criminal, not-as-clever-as-he-thinks, Mike. He is planning a “big job” in cahoots with, not-as-stupid-as-he-acts-sidekick, Troy (Poulter) that involves a big score. That is twenty-grand (£) from a previous job Troy’s imprisoned brother hid. Exponential growth is promised from a meet with some proper gangsters for what may or may not be a drug deal. Anyway, nothing is what it seems in this predominantly one-location thriller.
Two misfits waiting for someone who may never arrive, plus the swinging banter between Mike and Troy has vague elements of Waiting for Godot, however, there is an actual crime plot slowly burning here. As they wait impatiently at a remote cafe writer-director, Malachi Smyth, throws in some eccentric visitors plus a supporting romance plot, with Troy connecting awkwardly at first, then touchingly with cafe employee, Gloria (Naomi Ackie). Indeed, their attraction and subsequent connection virtually becomes the main narrative thrust of The Score (2021), before the final crime twist brings the action to a violent head.
Oh, do not forget the singing too. Dennis Potter had his characters lip-sync to old musical classics to reveal their emotions, and was proclaimed as genius for it. Here Malachi Smyth uses Flynn’s fantastic compositions to do a similar job. I admit it is a bit weird and jarring at first, but Flynn, Poulter and Ackie carry the tunes well for me and it adds another element to an unusual film experience. Ultimately if someone watched The Score (2021) and said it does not work at all, I couldn’t argue with them. However, I really loved it and constantly listen to the soundtrack I downloaded. I also have a soft spot for indie filmmakers, daring to fail while trying something different.
BFI PLAYER FILM REVIEWS: THE BEASTS (2022) and THE QUIET GIRL (2022)
I watched DUNE: Part II (2024) at the cinema but was not drawn to write a review of that masterly sci-fi-behemoth and technical marvel, such was the life-draining and utterly emotionless lack of reaction on my behalf. Instead, for my latest reviews I have chosen lower budget films, in comparison, which offer compelling characters and drama which made me feel and think something.
THE BEASTS (2022)
Directed by: Rodrigo Sorogoyen
Written by: Isabel Peña and Rodrigo Sorogoyen
Main Cast: Denis Ménochet, Marina Foïs, Luis Zahera, Diego Anido, Marie Colombetc.
Multiple Goya award-winning drama The Beasts (2022) is an intelligent and muscular drama that reminded me of the equally compelling Jean de Florette (1987) and Only the Animals (2019). The latter also starred the sizable talent that is Denis Ménochet. Here he inhabits the character of former teacher, Antoine Denis, who along with his wife, Olga (Marina Foïs) have taken to renovating properties and farming eco-vegetables in the area of Galicia, Spain.
Honest and hardworking the Denis’ are unfortunately considered outsiders and a threat to the locals, notably the brutish Anta brothers, led by the menacing Xan (Luis Zahera). The conflict is exacerbated as Xan blames them for losing his family money when the Denis’ blocked the sale of land to a wind energy company. Luis Zahera provides a formidable performance as the intimidating bully who begins by poisoning their water before moving onto even more vile and threatening acts.
The theme of city academics versus rural folk is explored with intensity, at times evoking Sam Peckinpah’s more exploitational film, Straw Dogs (1971). But rather than containing an explosive and violent ending, The Beasts (2022) delivers a more slow-burn, riveting and moving denouement. Superbly directed, filmed, and acted throughout, this is a fine work of cinema, only let down for me, by a final act which could not deliver on the highline suspense and tension established in the first two.
Mark: 8.5 out of 11
THE QUIET GIRL / An Cailín Ciúin (2022)
Directed by Colm Bairéad
Screenplay by Colm Bairéad – Based on Foster by Claire Keegan
Produced by Cleona Ní Chrualaoí
Main cast: Carrie Crowley, Andrew Bennett, Catherine Clinch, Michael Patric, Kate Nic Chonaonaigh etc.
Not only is this 1980’s set Gaelic drama about a quiet girl, it is very much a quiet film that is quietly devastating in mood and emotion. Centred around nine-year old, Cait (Catherine Clinch), she is a neglected outsider, and one of many siblings to a pregnant-again mother and horrible father. Worried about being able to cope, her mum “fosters” Cait to distant cousins, Eibhlín (Carrie Crowley) and Sean Kinsella while she is in the latter stages of pregnancy. Thus begins a meditative forming of a heartfelt relationship between the girl and the Kinsellas.
Initially the film’s narrative unfolds very slowly, being light on pace and exposition, but deft in mood and feeling. There is a certain poetry in the lighting and framing against the beautiful countryside landscapes. The Kinsellas and Cait, while reserved on the outside, are hiding strong emotions and even more powerful secrets. Colm Bairéad’s confident screenplay slowly reveals certain enigmas, but still plays his story cards close to his chest. Yet, the warmth of the leading characters and the interpretive dramatic subtext expertly pulls you into their lives, rather than distance you from them.
The Quiet Girl (2022) broke box office records for the opening weekend of an Irish-language film and became the highest-grossing Irish-language film of all time. Further, it received 11 nominations at the 18th Irish Film & Television Awards (IFTAs) in March 2022, and won in seven categories. It’s no surprise given the quality of the writing, photography, acting and direction that the film has achieved such accolades. Indeed, Catherine Clinch as Cait is a phenomenon. By the end I defy anyone not to be moved by the heart wrenching final scenes, as the film ultimately proves less is most certainly more.
The Cinema Fix presents 